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Chapter 3: Virus Indigo Controls 9

chapter 3

Virus Indigo Controls

Virus Indigo has over 180 different controls for

generating and modifying sounds. This chapter

explains each of these and their use.

A Synthesis Overview

Analog synthesis is often referred to as subtrac-

tive synthesis because of the way that sounds are

created and modified.

Typically, a waveform generated by an oscillator

is fed through a series of modules that change

the waveform’s frequency, harmonic content,

and amplitude, and thus its sound character.

Much of the modification is done by filtering

the sound, hence the term subtractive.

The sounds themselves are often referred to as

patches because the earliest synthesizers used

patch cords to interconnect the various sound

processing modules.

The most common modules or sonic building

blocks in a synthesizer are:

Oscillators These produce the raw waveform

material of a sound, which can then be modi-

fied. The most common waveforms are sine, tri-

angle, sawtooth, and square waves. Virus Indigo

generates many other types of waveforms as

well. (See Appendix C, “Virus Indigo Oscillator

Waveforms”for a list of Virus Indigo wave-

forms.)

Filters Remove or emphasize certain frequencies

or harmonics in the waveform. The most com-

mon filter type is a low-pass filter. This removes

high frequencies and passes lower frequencies.

Other filter types are high-pass, band-pass, and

band reject (or notch filter). Virus Indigo pro-

vides all of these.

Envelope Generators Give shape to the volume,

pitch, filter cut-off, and other parameters of a

sound each time a note is played. Envelope gen-

erators typically provide control over attack, de-

cay, sustain, and release.

LFOs (Low Frequency Oscillators) Generate low

frequency waveforms that can be used to

change or modulate pitch, filter cutoff, volume,

and many other parameters. The most common

LFO waveforms are sine, triangle, and square

waves.

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